Cut it (through) and thrust it downwards,” etc. (as before).
(or else some longer version, such as one of those given in the Appendix). When the wild pigeon have arrived and have entered the enclosure or “Palace-yard,” wait till they are in a good position, and then push out one of the rods with the fine noose at the end, slip the noose over the bird’s neck, and drag it into the house, saying as you do so—
“Wak-wak [stands for] a heron on the kitchen shelf,
Covered over with the top of a cocoa-nut shell,
Do you move aside, Sir Bachelor, Master of the Ceremonies,
I wish to ensnare the necks of the race of wild doves.”
Now that you understand the process of decoying pigeon with a pigeon-call, I must explain something of the curious nomenclature used by the wizard; for during the ceremony you must never call a spade a spade. In the first place, the hut must not on any account be mentioned as such: it is to be called the Magic Prince—why so called, it is hard to say, but most likely the name is used in allusion to the wizard who is concealed inside it. The name given to the calling-tube itself is more appropriate, as it is called “Prince Distraction” (Raja Gila), this name of course being an allusion to the extraordinary fascination which it evidently exercises on the pigeon. Then the decoy (or rather, perhaps, the rod to which it is linked) is called Pŭtri Pĕmonggo’, or the Squatting Princess. Next to these come three Princesses which prove to be merely the representatives of three important species of wild pigeon. Their names, though variously given, are perhaps most commonly known as Princess “Kapor,” Princess “Sarap,” and Princess “Puding.”
Finally, even the rod used for ensnaring the pigeon has its own special name, Si Raja Nyila (Prince Invitation).
“King Solomon’s necklaces” and armlets are of course the nooses with which they are to be snared, and which will catch them either by the neck or by the leg.